Papageno: I am the birdcatcher, yes! Always cheerful, fiddle-di-i, fiddle-di-da!, Act I of

Papageno: I am the birdcatcher, yes! Always cheerful, fiddle-di-i, fiddle-di-da!, Act I of 'The Magic Flute' by Wolfgang Amadeus Mozart

(Papageno: I am the birdcatcher, yes! Always cheerful, fiddle-di-i, fiddle-di-da!, Act I of 'The Magic Flute' by Wolfgang Amadeus Mozart (1756-91), engraved by Friedrich Wilhelm Meyer Senior (b.c.177)


Johann Heinrich Ramberg

€ 127.31
Enthält 13.5% MwSt.
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Undated  ·  Radierung  ·  Picture ID: 106087

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Papageno: I am the birdcatcher, yes! Always cheerful, fiddle-di-i, fiddle-di-da!, Act I of 'The Magic Flute' by Wolfgang Amadeus Mozart by Johann Heinrich Ramberg. Available as an art print on canvas, photo paper, watercolor board, uncoated paper or Japanese paper.
birdcage · pan pipes · feather costume · male · print · Wien Museum Karlsplatz, Vienna, Austria / Bridgeman Images
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Gemälde
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Keilrahmen
Museumslizenz

€ 127.31
(inkl. 20% MwSt)
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Bildschärfe: PERFEKT

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Bible of Royaumont, Old Testament: Gates of Gaza Allegory of Relief Represented in Armor with a Sword. She Carries a Purse and a Basket Full of Food to Symbolize Relief in Calamities and Famine. She Allegory of Adulation Playing Flute to Mark That She Seeks to Insinuate Herself by the Sweetness of Her Words. Its Attribute is the Bee (for the Sweetness of Honey and the Venom of the Sting) and the Bellows (Flattery Lights the Fire of Passions). Engravin Allegory of Interest Allegory of Internal Sorrow Represented by the Sadness of the Face and the Disorder of Adjustment. Her Breast Appears to Be Eaten by Several Snakes. Engraving in Allegory of suspicion cuts behind a shield on which stands a lion, symbol of suspicion according to Aristotle, and a rooster on the helmet that represents vigilance. Engraving in Little boy holding a vessel, from Premier Livre de Figures d Allegory of Vain Glory Holding a Trumpet and Breathing the Smell of Incense with Satisfaction. Engraving in The Little Shepherd The Rape of Ganymede The Rape of Ganymede Allegory of Greed Represented by Blind Desire Whose Starvation Is Uncertain. Engraving in Alcyone and Ceux Transformed into Birds Allegory of the light. She has wings on her head, shoulders, feet and hands. Engraving in The Bird Merchant Frontispiece with Little Boy Holding a Basket, from Premier Livre de Figures d Allegory of Blood Complexion. The goat who eats grapes shows that blood is brought to the pleasures of love and Bacchus. Engraving in Allegory of Poverty Sitting at the Foot of a Dry Tree Growing in Arid Terrain. Her Feet and Hands Are Tied and She Tries to Undo Her Ties with Her Teeth; Engraving in The Golden Bough (State 1) Representation of Narcissus, young man in love with himself, he constantly admires his reflection. From Allegory of Error in a Staggering Attitude with a Blindfold and Donkey Ears to Mark that Blindness and Ignorance are the Sources of Error. She Erigo and Bacchus, Engraving of 1819 in Allegory of adolescence represented by a young man leaning on a harp and holding a mirror. His foot is placed on an hourglass. Engraving in Allegory of Fury. With a Blindfold, She Throws a Beam of Different Kinds of Weapons to Mark Her Triumph in War, Massacres, and Fights. Engraving in A Falconer Allegory of Merit represented at the top of a steep rock with weapons and a book symbolizing it as the result of his works and studies. Engraving in The Thread of Ariadne Mercury and Argus. Death of Argus: Mercury played the flute to fall asleep Argus and deliver the nymph Io, transformed into a cow. Engraving from 1819 in Lettres a Emilie sur la mythologie by Charles Albert Demoustier (1760-1801). Samson Carrying the Gates of Gaza
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Other art prints by Johann Heinrich Ramberg

Abbot Discovers a Young Man Among His Disrobed Nuns Illustration from La Jument du compère Pierre after the poem by Jean de La Fontaine, 1800 The Exhibition of the Royal Academy, 1787, Engraved by Pietro Antonio Martini, 1787 Malvolio before Olivia, from The Mare of Compere Pierre Papageno: I am the birdcatcher, yes! Always cheerful, fiddle-di-i, fiddle-di-da!, Act I of Stage Set Design of an Ancient Roman Ruin being Converted into a Barn, late 18th-mid-19th century Scene from the opera Olivia, Maria and Malvolio from Twelfth Night, Act III, Scene iv Interior view of Somerset House showing King George III, Queen Charlotte and the Royal family viewing an exhibition of the Royal Academy of Arts in 1788 The Exhibition of the Royal Academy The Lovers King Frederick II of Prussia Lady St. Aubyn and her Family
Discover more works by Johann Heinrich Ramberg

Other art prints by Johann Heinrich Ramberg

Abbot Discovers a Young Man Among His Disrobed Nuns Illustration from La Jument du compère Pierre after the poem by Jean de La Fontaine, 1800 The Exhibition of the Royal Academy, 1787, Engraved by Pietro Antonio Martini, 1787 Malvolio before Olivia, from The Mare of Compere Pierre Papageno: I am the birdcatcher, yes! Always cheerful, fiddle-di-i, fiddle-di-da!, Act I of Stage Set Design of an Ancient Roman Ruin being Converted into a Barn, late 18th-mid-19th century Scene from the opera Olivia, Maria and Malvolio from Twelfth Night, Act III, Scene iv Interior view of Somerset House showing King George III, Queen Charlotte and the Royal family viewing an exhibition of the Royal Academy of Arts in 1788 The Exhibition of the Royal Academy The Lovers King Frederick II of Prussia Lady St. Aubyn and her Family
Discover more works by Johann Heinrich Ramberg

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Do you have any questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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